Krishna Seva

[Trusha]

Jai Shree Krishna

What is the significance of Ektalis Pada and when should one recite it?
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Pushtidas]

Jai Shree Krishna

It is nice to see you doing satsang on KS.com Satsang Tibari, Trushaji. You have raised a very interesting question regarding 41 Pada.

Shree Yamna Maharaniji is a prominent swaroop in Pushtimarg and this is very well depicted in Yamnastakam. Shree Mahaprabhuji, by writing Stuti Tav Karotik..., really is a defence in our favour. Shree Vallabh said that the Jiva do not know your (Yamna Maharaniji) swaroop, so the Jiva cannot do stuti, hence, Yamnastakam was the form of stuti by Mahaprabhuji for the Jiva (vaishnavs).

As all the vaishnavs a astute about Yamnastakam, and have been reciting this Ashtakama from its birth, we as vaishnavs have also been doing Shree 41 (Ektalis) Pada for last 455 years. Shree Mahaprabhuji in "Shree Subodhiniji" wrote Gnatva pane Mahan rasah that is, it is important to have knowledge and after this knowledge of Pada we can feel the Maha ras. The knowledge enhances our understanding and thus we feel the emotions and feelings within these padas and through this feelings and the knowledge, we attain the nectar of Patha (padas) of Shree Yamnaji's 41 Padas.

As mentioned above, Yamna Maharaniji is a very prominent swaroop and Shree Yamnaji is the personality who guides us towards Thakorji. In the third pada of 41 Padas, Shree Hariraiji explains that many Jiva were depicted as flowers in the garland and she went and presented these Jiva (souls) to Shree Thakorji, and Shree Thakorji was excited to see the garland. This shows Yamnaji plays a very important part in announcing any Jive who takes Guru Diksha. So 41 Pada is very important Patha. In Pushtimarg the vaishnavs, specially in Gujarat, takes it very serious, they give very prominent place similarly to Yamnastakam.

Incidentally, we also don't have many literatures explaining these 41 Padas; I have come across a pustak by Shree Rameshbhai Parikh and this is the only Pustak which explains the 41 pada in full.
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Dasa nu das
Pushtidas

[Nirupa]

Jai Shree Krishna

Pushtidasji, as you have the "only Pustak" which explains the 41 pada in full. Can you please explain the bhava of the first pada, in your special way. I apologise for any mistakes. Please correct me.

Pada 1

Piya sang rang bhari, kari kaloe
Sabanko sukh den, Piyaso karate sen
Chit taba parat chain, jabhi bole

Atihi bikhyat, saba baat inke haath
Naam leta hi, krupa kari atole
Darasa kari parasa kari, dhyaan hiyame rahe
Sada Brajanath, ina sanga dole

Athee sukha karana, dukha saban ke haran
Ahee lino paran, de ju ko le
Aisi Yamune jaani, nita karo gunagaan
Rasik Pritam paye, naga amole
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Trusha]

Jai Shree Krishna

Nirupaji you beat me to it!!

I was just about to ask Pushtidasji to explain the first pada!

Thanking you in advance Pushtidasji
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Pushtidas]

Jai Shree Krishna

Nirupaji, the book I have, many copies have been printed so I am not the sole owner. Anyway it is a nice topic and I will soon put the breakdown of the pada. At the moment I am rather involved in Utsava, so I am unable to surf as much as I want to be.

Shree Adminji will meanwhile hold the fort and whnever I get chance I will visit Satsang Tibari.

Thanks Trushaji, this 41 padas are very lovely pada. Hope we do justice to all these padas.
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Dasa nu das
Pushtidas

[Nirupa]

Jai Shree Krishna

Pushtidasji, we understand that you are busy with organising the Nidhi Swaroop Utsava, so we will eagerly and patiently wait for You to post explanation of 41 pada.
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Nital]

Jay Shree Krishna

wow! what a great topic...look forward to the explanations by Pushtidasji. Pushtidasji, there is no need to question - I am more than confident that you will do it fantastic justice (as usual!) with the help of the lovely vaishnavs.

JSK

[Trusha]

Jai Shree Krishna

I def agree with Nitikaji,(Nitalji)!

Cant wait till the next posting
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Sunita Punjabi]

Jai Shri Krishna,

Trushaji, one can sing (or recite) those kirtans anytime after shower in clean avastha as by pleasing Shri Yamunaji Shri Krishna is also pleased.

Now its significance (importance and bavarth) I agree with toofani group let Pushtidas do us that favor.
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Sunita Punjabi

Mero to Aadhar Shri Vallabh ke Charnarvind
Mere gale ko haar Shri Vallabh ke Charnarvind
Mero to shinghar Shri Vithal ke Charnarvind
Ga-o Varamvar Shri Vallabh ke Charnarvind Shri Vithal ke Charnarvind --------!!!!!!!

[Sital]

Jai Shree Krishna

Whilst Pusthidasji is busy with organising the utsav I thought I paste in a article he has written on another website on the 41 Pads as its excellent;

Source: Yamna.co.uk
Author: Pusthidasji

The Dream - 41 Pads
By Shree Hariraiji Chronical


Sharan Pratipal Gopal Rati Vardhini.

Do you know how the concept of "Shree Yamnaji na Ektalis (41) Pada" was born? Well, here is the complete concept of the concept. Shree Hariraiji Prabhu had lot of ebullition toward Shree Yamna Maharani. He had also had lot of eclectic ecstasy towards creation of "Shree Yamnastakam", the creation of Shreemad Vallabhachariyaji.
One night Shree Hariraiji was reciting Shree Yamnastakam and fell asleep. In his sleep He had most edifying ecclesiastic dream. Shree Hariraiji was in Gokul.

In Gokul at Govind Ghat on Thakurani Ghat, where Shree Yamnaji enthroned Shree Mahaprabhuji, who was enunciating Shree Yamnastakam, under the shade of "Choker" tree. On His right was the envious swaroop of Shree Gusainji and Shree Hariraiji was sanctified with the fulgent face of Shree Mahaprabhuji.

Adjacent to theses two Ghat, there is an octagonal platform and on this platform Shree Nathji and Shree Yamnaji have taken a prominent front balcony seat under a beautifully ornamented Octagonal umbrella. Shree Krishna (Shree Nathji) and Shree Krushna (Yamnaji) animatedly listening to the rendering of Shree Yamnastakam by Shree Mahaprabhuji. Both side of the Octagonal Platform were two rectangular long length steps and were occupied by the Ashta Sakhas, four on each side. We see Gangabai Shatraniji doing "Chamar" (fan) to Yugal (couple) swaroop.

Shree Nathji always loved the songs of praise and was even get more intrigued when He hears the stuti and praise of Shree Yamnaji. So everyone was animated in singing songs of Maharaniji's. Shree Mahaprabhuji opened the forum by reciting Yamnastakam, followed by Shree Yamunastapadi by Shree Gusainji and then Shree Hariraiji sang Shree Yamunavignapti. Then Shree Mahaprabhuji asked Shree Hariraiji to sing Yamnaji's Padas. Shree Hariraiji sang four padas in Ramkali and the air was filled with incense of Yamna praises and the Ashta Sakhas sang four each padas. Shree Hariraiji also heard Gangabai singing her poetic endurance of "Kaun pai Jay Shree Jamunaiji ju burni?"

When Shree Hariraiji Mahaprabhu woke up he recalled every thing about the dream and used all these padas and prepared a concept of 40 Padas Of Shree Yamnaji. The padas collection was sanctified as following:

Shree Hariraiji.................4 Padas (Pada no 1 to 4)

Shree Gusainji's Ashta Chap Kavi:

Govindswamiji.................4 Padas (pada no. 5 to Chhitswamiji....................4 Padas (pada no. 9 to 12) Chhaturbhujdasji............. 4 Padas (Pada no.13 to 16) Nanddasji....................... 4 Padas (Pada no.17 to 20)

Shree Mahaprabhuji's Ashta Chap Kavi:
Surdasji...........................4 Padas (Padas no. 21 to 24) Kumbhandasji..................4 Padas (Pada no. 25 to 2 *Gangabai.......................4 Padas (Pada no. 29 to 32) Krushnadasji....................4 Padas (Pada no. 33 to 36) (his pen name was Krushnadasi) Permananddasji..............4 Padas (Pada no. 37 to 40)

(* Please note Gangabai was Shree Gusainji's SEVAK)

This was how the Yamnaji's Padas concept was stringed together. Now there was also a school of thoughts about the number science. In Pushti-science of numerology has a special sanctified fulgent alokik swaroop. In Shastra, quite lot of thoughts have been put and then the final unanimous decision was made. When, according to Shastra, zero is not sanctified number. (In any auspicious occasion when we give "Daan", it is not 10 rupees (10 pounds); we give 11 pounds (11 rupees)).

So Sundarvati Vahiji consulted Shree Hariraiji and between them a Pada number forty-one was selected. This Pada, although was decided upon, but never recited by Shree Hariraiji. It was 15 years later history records the 41st Pada.

The selection of this Pada was from Shree Mahaprabhuji's Sevak Shree Krashnadasji. His pada was chosen because this pada depicted the overview of Shree Yamnaji's swaroop and thus was rendering the summary of all 40 padas. In Pushti "Upsahaar" padas are rare and this pada is only one in Yamnaji's pada collection. So this pada was an appropriate concluding pada for this selection.

Although in 41 padas, every selection of padas was divided according to "chatustiyi" indexing, were linked very well with each other. The chatustiya means pair of fours. The chatustiyi index is of three different categories. The first category of chatustiyi is known as Pursharth Chatustiyi. In Pursharth Chatustiyi we have four elements. They are Dharma, Arth, Kaam and Moksha.

The second category is Bhagvat Chatustivi, has Naam, Roop, Goon and Lila elements. The third one is Sadhan Chatustvi. In these categories the four elements of Praman, Pramay, Sadhan and Fal are indexed.
All above categories are woven into packs of four hence, we have padas in the set of fours. It is well inter woven to show all those Chatustivi Swaroop Of Shree Yamnaji.

Now Raga of these padas is Ramkali. In Pushti Marg, we see the trend of Dhrupad Dhamar style of Padas. In this Dhamar we do sometimes observe mixture of "Karnataki" style as well. So all or most of our Padas are somehow not accurately interwoven as Shastriya Sangeet prampara but are whelmed as Haveli Sangeet.

The prominent poets of Pushti Marg always used to go for Sandhiya (evening) Darshan of Shree Yamnaji, just after sunset period hence, the Sandhiya Darshan inspired the Padas of Shree Yamnaji. So sitting on the River bank of Yamnaji, the PADAS were set for sunrise.Although all padas in 41 padas of Shree Yamnaji is originally sung in Ramkali, experience professional singers and poets do singing in different ragas.

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Dasa no das
Pusthidas


I know everyone will agree that this article is brilliant and I am sorry if I wasn’t suppose to bring it to Krishna Seva
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Madhurkomalkant padavali namami
Sital

[unnati]

Jai jai shri gokulesh

Sitalji, Thanx for posting the reply.
Pustidasji, very well explained.
But who is this Sundarvati Vahiji. I am sorry but i heard it for the first time so asking
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Shri Vallabha Charan Vina Sharan Koni Jaou.....Shri Vitthala Nam Vina Mantra Kya Thi Paou......Shri Vallabha Charan Vina Sharan Koni Jaou.....
Unnati M. Kadakia

[Nirupa]

Jai Shree Krishna

Unnatiji, Shree Sundarvata Vahuji is Shree Hariraiji (Shikshapatri) na vahuji
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[unnati]

Jai jai shri gokulesh

Nirupaji, Thanx for the quick reply.
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Shri Vallabha Charan Vina Sharan Koni Jaou.....Shri Vitthala Nam Vina Mantra Kya Thi Paou......Shri Vallabha Charan Vina Sharan Koni Jaou.....
Unnati M. Kadakia

[Trusha]

Jai Shree Krishna

Pushtidasji I understand you have been busy, will you soon post some more lovely renders of Ektalis Pada? Pretty please
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Pushtidas]

Jai Shree Krishna

I will soon put some posting on your request. Thanks for reviving this posting TRUSHAJI.
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Dasa nu das
Pushtidas